The Magpie Theatre Company is one of the youngest companies on the Liverpool circuit. Headed by David Jones, the company has performed at the Casa Theatre before with a rendition of Oscar Wilde’s The Canterville Ghost, however this time The Tempest has been brought ahead in time through the use of costume. Prospero’s cave is now a cramped war-like bunker with papers and writings across the walls. The storms are now deafening rounds of air raid sirens and the music that echoes through the island is an eerie snare drum.
Though it is not clear just what year Jones has set his rendition of The Tempest, he and his actors have managed to keep hold of the Bard’s comedy throughout the gritty setting. Caliban (Alex Webber-Date) and Ariel (Kel Nkondock) both serve as slaves to a stoic and strong Prospero (Fergus O’Sullivan). O’Sullivan brings a new air to Prospero, and certainly one fitting for a man endowed with war medals across his chest. There is not one moment where we do not believe that he is the rightful Duke of Milan.
With a small yet strong cast, it was refreshing to see young and new actors come into their own. Not one character felt similar to another, with special mention to Charlie Collinson’s portrayal of Ferdinand as a love sick fool and Phoebe Hopper’s sweet and wide-eyed Adrianna, both who stood out truly as light within such a dark-natured play. Webber-Date’s Caliban is also a hit, empowering every scene in which he is brought. His chemistry with Miles Rosbrook’s Trinculo, imagined as a member of the press, added another layer to the dynamic, juxtaposing light relief comedy with monstrous desperation of Prospero’s slave.
Despite the strong talent shining through, there are still moments of The Tempest that seem to slow the pace or rush the audience through multiple lines at once. Call it first night nerves, or deafening audio hammering from above, but for the first fifteen minutes I don’t think I caught a single line save for those from Miranda (Solenna le Goff), who truly saves each scene she is in. However, when the story gets moving, you are quick to be dragged into the action and quick to forgive.
Jones’ use of space throughout the Casa is interesting, as many of the lines are delivered from behind the audience at the back of the theatre. Though his costumes are simple, they are effective in their use of coloured bands to represent where each of the characters lie with their allegiances. As a new theatre company, The Magpie Theatre has a long way to go but their actors have promise and there are good moments in this diamond in the rough. For now I would suggest Jones spend a little more time bringing out the best of his actors and less reliance on sound and lighting. It is a company to keep an eye on in the near future, and though The Tempest was not as strong as Magpie’s earlier work, the actors sure do have talent.
Reviewer - Aidan Bumgey
on - 6/6/19
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